Leica R-Lenses User manual

Brand: Leica

Model: R-Lenses

Category: Bridge cameras

Type: User manual

Leica R-Lenses

January 2004

Chapter 7: 28-90 mm lens

__ LEICA VARIO-ELMARIT-R 28-90 MM F/2.8-4.5 ASPH

by Erwin Puts

Chapter 7 Leica R-Lenses 1

__Introduction

The zoomlens as a species of lens design has had a strange

evolution. The first design seems to be the Vario-Glaukar

1:2.8/25-80 mm for 16 mm cine cameras, created by

Siemens around 1936. Especially in movies, the idea of a

smoothly changing rate of magnification is very valuable as

it can dispense of the stationary camera, moving on a trol-

ley over rails. The first patent for a zoomlens is from 1902

by a USA company. The idea of a zoomlens is now more

than a hundred years old. The first zoomlenses for 35 mm

cameras were regarded as toys and even during the eigh-

ties of the previous century the Leica company declared

that zoomlenses would never surpass the image quality of

fixed focal lengths. It is Mr Kölsch who deserves the credit

for two major breakthroughs in Leica lens design: the

aspherical surface and the high quality zoomlens. The semi-

nal LEICA VARIO-ELMARIT-R 35-70 MM F/2.8 ASPH and

the Vario-Apo-Elmarit-R 70-180 mm F/2.8 are the proof in

the pudding: zoomlenses can be as good as fixed focal

lengths.

Nowadays the situation is reversed: it are the fixed focal

lengths that must prove their superiority against the chal-

lenge of the zoomlens. There is no doubt: the zoomlens

does not lend itself to high apertures (in the world of the

digital camera this statement is not true!) and the maxi-

mum aperture is F/2.8. But with current film technology

the best ISO 200 and ISO 400 slide films (and 400 ISO BW

films) can compensate for the one or two stops difference

between fixed focal lengths and zoomlenses.

The zoomlens has a higher number of lens elements that

can all be used to correct the optical aberrations and the

designer has more tools to optimize his design. We know

that with fixed focal lengths there is one optimum distance

(or magnification) for which the lens can be corrected. In

zoomlens design the same principle holds: there is only one

focal length for which the design can be optimized. The

choice is obvious: one can select the medium position, the

wide angle side or the tele side. For the new LEICA VARIO-

ELMARIT-R 28-90 MM F/2.8-4.5 ASPH, Leica has opted for

an optimization of the 50 to 90 mm range.

The designer of a zoomlens has more tools to correct the

lens, but the mechanical design and engineering are more

demanding. There is clearly a difference between assem-

bling a lens with 6 elements in a stationary mount and a

lens with 11 elements in a moving mount. It is already a

hefty task to manufacture and assemble components with a

precision within 0.01 mm consistently. The additional requi-

rement for a zoomlens is that this same level of accuracy

must be maintained with moving components. Leica does

check the precision of the lens with a testcycle of 50.000

movements of the lens mount.

This new Leica zoomlens has a number of innovative featu-

res that elevates zoomlens design to a new level.

It is the first Leica zoomlens that has a zoom range above a

ratio of 1:3, to be exact it is 1:3.214, very close to the

magic mathematical number pi (3.14…).

The second innovation is a new and very elaborate mecha-

nical design for the movement of the lens groups.

The third innovation is the ergonomics: the LEICA VARIO-

ELMARIT-R 28-90 MM F/2.8-4.5 ASPH has one of the

smoothest lensmounts I have touched, considering the fact

that the lens has been made for manual focusing with a

fully mechanical mechanism. The size of the lens is relative-

ly small and fits in between the smaller Vario-Elmar-R 28-70

mm f/3.5-4.5 and the larger Vario-Elmarit-R 35-70 mm

f/2.8 ASPH. That is quite good, given the additional focal

length of 20 mm. The diameter of the lensmount could be

held down by employing quite thin but very stable alumi-

nium tubes. If you press very hard on the distance ring, you

will increase the friction and this phenomenon has caused

some users to question the mechanical stability of the new

generation of zoomlenses. This is not the case, and one

needs to get used to the idea that modern lenses have a

different feel compared to previous generations.

The fourth area where innovations can be detected is the

cosmetics: the lens has a beautiful shape and very impres-

sive black finish.

We may add that the lens has its share of electronics with

the electronic exposure compensation, useable with R8/9.

No news here, but one should see it as a fifth area.

The ROM (electronic data and signal relay) contact ledge

transfers information from the lens (focal length, aperture

compensation and vignetting data) to the camera for cor-

rect exposure determination and flash settings (zoom

reflector).

Chapter 7 Leica R-Lenses 2

__Zoomrange

The choice of focal lengths is very practical. Many years

ago Canon has analysed thousands of photographs and

concluded that the most often used apertures and speeds

are 1:8 and 1/125 and that the most used focal lengths

were within the 28 mm and 90 mm range. If we believe

these studies, the new Leica lens would cover the most

used range of focal lengths with one zoom movement.

This Leica lens is a fine addition to the expanding range of

Vario-lenses, but it cannot be a jack of all trades.

A macro facility is not available, but can be found in the

companion lens Vario-Elmar-R 35-70 mm f/4 . And for most

applications, the near focus limit of 0.6 meter on the 90

mm position may suffice. The aperture range from 1:2.8 to

1:4.5 has enough speed for current high quality medium

speed films. One would have hoped for a slightly wider

aperture at the telephoto side of the zoomrange. But that

wish would have clashed with the desire for a compact lens.

Remember that the famous Vario-Elmarit-R 35-70 mm f/2.8

had a front diameter of 88 mm and extrapolating this to the

90 mm position, one would have to live with a lens with a

diameter in the neighbourhood of 120 mm and a much hig-

her weight due to the proportionally heavier glass lenses.

The aperture ring has numbers from 2.8 to 22 and one

should be aware that this range only holds for the focal

lengths from 28 to35 mm.

The 50 mm aperture starts at 3.4 and the 90 mm at 4.5.

If you are at the 90 mm position, the aperture setting of 2.8

corresponds to 4,5 and the 22 is in fact 36.

One should be careful when using a handheld meter or

when one uses the A-setting and wants to select a specific

aperture. It is easiest to use the aperture indication in the

finder.

__ LEICA VARIO-ELMARIT-R 28-90 MM F/2.8-4.5 ASPH

Chapter 7 Leica R-Lenses 3

__Optical demands and mechanical con-

struction

The design has 11 elements in 8 groups and employs two

aspherical surfaces, one at the first surface of the front ele-

ment and one at the second surface of the last element,

incidentally the same as in the original Noctilux 50 mm

f/1.2.

The lens has three moving groups that are being guided in

milled slots with a precision of 0.010 to 0.005 mm.

The challenge for the Leica engineers was to design a lens

that had to fit into three dimensions of requirements: per-

formance, haptics and cosmetics. These dimensions are

partly at conflict with each other. And we have to add anot-

her dimension, that is the manufacture of the lens. In this

area Leica has learned a lot from the previous designs. The

main problem area is the narrow tolerance band for the

manufacture and assembly. The lens consists of eleven lens

elements, that are precision grinded and have a surface tre-

atment to reduce surface irregularities to a sub micron

level, in fact here we are talking about tolerances at the

nanometer scale (0.001 micron). To deliver the required and

calculated performance, the lens element must be fitted

into the mount without any stress, as the slightest strain on

the lens will deform the surface and produce unwanted

optical aberrations. One should be aware that the accurate

and strain free mounting of the lens elements is a big chal-

lenge. There are additional challenges too: a lens element

needs to be blackened at the sides to reduce the possibility

of flare. This is accomplished by painting the sides of the

lens with a black paint, still done by hand by experienced

workers. But a thick (relatively speaking!) elastic layer

implies that the lens could move ever so slightly within the

mount. One solution might be to press the glass element

into its mount, but too much pressure is not good at all. So

one has to carefully balance the thickness of the layer of

paint with the requirement of a strain free fitting.

In the area of lens grinding and shaping we are operating

on a nanometer dimension. The jump from this optical

dimension to the mechanical dimension of the mount and

the accuracy of assembly is a jump from nanometer scale

to micrometer scale (0.001 mm), but this micrometer scale

is still incredibly small. And the designer must be aware of

this jump to assure that his calculations can be met in the

realm of manual assembly, even when using sophisticated

instruments to check the precision of the assembly. The

new zoomlens has more than 40 main mechanical parts

(excluding the elements and electronics and the aperture

mechanism) that have to be assembled with a precision of

0.010 to 0.005 mm.

One of the biggest problem areas in lens assembly is the

possible decentring of lens elements. Decentring of lens

elements can be a tilt or a lateral displacement (relative to

the optical axis) and will occur almost always during lens

assembly unless one can work with very narrow tolerances.

Most optical programs have a special module to study the

effects of decentring and can indicate how much decen-

tring is allowable before one sees a deterioration of the

image quality.

Decentring in general brings loss of contrast and more

astigmatism. A special construction is required to ensure

that the very tight tolerances that this lens demand (due to

the mechanical and optical constraints of a 1:3 zoomrange).

The manufacture of parts can never be done in a zero-tole-

rance environment. Therefore a certain amount of tolerance

in the system must be accepted. In general one can appro-

ach this problem in three ways: one can allow for adjust-

ments during the assembly process and try to pair

plus/minus parts to get the correct fit (old Leitz method),

one can do a Monte Carlo statistical analysis to investigate

where the most sensitive problem areas are and distribute

the problematic aspect through the system by relaxing the

constraint (Zeiss method of relaxation) and now Leica uses

a third method. This is the method of mechanical compen-

sators that are part of the mechanical construction and are

already taken into account at the stage of optical design

and calculation. This is the novel idea. Compensators them-

selves are not new as a technique. In this case the lens ele-

ment can be displaced by a small amount by a mechanical

movement before being fixed in place. The displacement is

controlled by a MTF measurement at a very high scale of

magnification

New too is the approach to design the lens optically and

mechanically at the same time and in full interaction. The

designer must be aware what is possible at the assembly

stage as he cannot demand the impossible from the people

during their work. The optical calculations are optimized to

selected because the surface reacts quite well to the black

anodizing process

(see image 1)

The result of all this effort is a lens with a very smooth

movement of the focusing ring and focal length selection.

With quite sensitive fingers one can feel some instances of

friction when you go from 90 mm to 28 mm, so perfection

is always relative.

__Optical considerations

The general image quality of this lens is of a very high

order. Leica characterizes the lens as a travel and general

purpose lens. This is undoubtedly true, but I would add that

the performance of the LEICA VARIO-ELMARIT-R 28-90 MM

F/2.8-4.5 ASPH does support professional photography of

a very high calibre.

At 28 mm and full aperture (2.8) we have a high contrast

image that can record above 150 Lp/mm in the centre of

the image and more than 80 lp/mm in the outer zones

(see

image 2)

. Only the corners are weak with a soft recording

Chapter 7 Leica R-Lenses 4

allow the people at the assembly line to hand adjust the

compensator mechanism in such a way that the lens is

always at optimum performance. Every single lens is being

checked to perform as designed and especially the aspheri-

cal elements are very carefully adjusted. The result is a

much lower tolerance band than would normally be possi-

ble. The care that is being lavished on the quality of the

assembly can be read off from the time needed: it takes a

worker more than two hours to assemble the lens. This

close cooperation between design and assembly is one of

the main causes for the consistently high quality of the

Leica lenses and has now been brought to a new level. The

assembly and adjustment instructions are part of the final

lens design and the design is adapted to what is the best

assembly practice.

No two lenses that leave the factory are absolutely identi-

cal. There is always some tolerance during manufacture.

The factory must set the lower limits of the performance

that they can accept as being within the requirements as

specified by the designers. A long as these requirements

are met, a lens will be accepted by quality assurance. With

the construction of the LEICA VARIO-ELMARIT-R 28-90 MM

F/2.8-4.5 ASPH the statistical distribution within the tole-

rance range is significantly reduced.

Zoomlenses are difficult to manufacture to narrow toleran-

ces because of the lens groups that have to move in a com-

plicated path. Normally one uses a mount with guiding slots

that govern the movements of the lens groups in relation to

each other.

In most cases there are two or three slits and they are mil-

led in the mount as open holes, in which the guiding rollers

move. With open slits, however, the structural integrity of

the mount can suffer, but with two slits and sufficiently

thick walls, there is no problem. The price you have to pay

is a heavy lens. One of the requirements for the new lens

was its low weight. In this LEICA VARIO-ELMARIT-R 28-90

MM F/2.8-4.5 ASPH we have three moving groups and the-

refore three guiding grooves. Now we cannot use the nor-

mal construction. (too heavy and/or too fragile). To ensure

the necessary stability, one cannot use the open slit

method, but must use internal grooves that can only be cut

by special CNC machinery that Leica developed in coopera-

tion with Weller, the leading manufacturer of this type of

CNC tools. The milling movement creates a surface rough-

ness that has to be smoothed to a tolerance depth of 0.01

mm to ensure that the guiding rollers move with the same

resistance over the whole range. The mount of the new lens

is made of quite thin and very high-grade aluminium that is

specially selected to have the required stability. It is also

(image 1)

of fine detail. Stopping down to 5.6 the performance of the

centre now extends over an image circle of 12 mm diameter

(see image 3)

. There is no trace of astigmatism and a

slight field curvature. Some colour fringing is visible at very

high magnifications. Distortion is visible with -3% (barrel

distortion) and so is vignetting at 2.5 stops

(see image 4)

At 35 mm and full aperture (2.8) there is a small improve-

ment in the outer zones where the lens now records 100

lp/mm with good micro-contrast

(see image 5)

. Distortion

now is about -1%. At 5.6 we have optimum performance

with a crisp rendition of very fine detail over most of the

image area

(see image 6)

. Vignetting is practically gone

(see image 7)

At 50 mm and full aperture (3.4) we see a very high con-

trast and an exceptionally high resolving power of more

than 150 lp/mm over a large section of the negative. There

is still some faint colour fringing, but in practice one would

be very hard pressed to note it

(see image 8 and 10)

. At

5.6 we have impeccable performance that easily surpasses

the quality of the Summicron 50 mm lens, especially in the

outer zones of the field

(see image 9)

At 70 mm and full aperture (4) the image quality becomes

superb and we have an extremely high contrast and a very

crisp definition of the finest details

(see image 11)

Stopping down to 5.6 does improve edge contrast and now

the corners are quite good too

(see image 12)

. Distortion

is 1% (pincushion) and vignetting negligible

(see image 13)

At 90 mm and full aperture (4.5) the best performance is

reached and compared to the 70 mm position the outer

zones and corners are now as good as the centre of the

image

(see image 14)

. Vignetting is gone and distortion is

very low with 1%. The low distortion at the tele side of the

zoomrange is quite remarkable. Often the behaviour of

zoomlenses can be characterized as good in the middle

range and weaker at both extremes

(see image 15 and

16)

Chapter 7 Leica R-Lenses 5

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 2.8

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 5.6

image 2

image 3

0 5 10 15 20

Y'[mm]

-5

-4

-3

-2

-1

[%]

Relative Distortion

image 4

Chapter 7 Leica R-Lenses 7

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 2.8

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 5.6

image 5

image 6

0 5 10 15 20

Y'[mm]

-5

-4

-3

-2

-1

[%]

Relative Distortion

image 7

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 3.4

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 5.6

image 8

image 9

0 5 10 15 20

Y'[mm]

-5

-4

-3

-2

-1

[%]

Relative Distortion

image 10

Chapter 7 Leica R-Lenses 8

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 4.0

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 5.6

image 11

image 12

0 5 10 15 20

Y'[mm]

-5

-4

-3

-2

-1

[%]

Relative Distortion

image 13

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 4.5

0 5 10 15 20

Y'[mm]

100

[%]

Aperture Stop 5.6

image 14

image 15

0 5 10 15 20

Y'[mm]

-5

-4

-3

-2

-1

[%]

Relative Distortion

image 16

Chapter 7 Leica R-Lenses 9

This is a lens with amazing characteristics. It offers outstan-

ding quality and can be compared very favourably to the

fixed focal lengths. A detailed comparison with the equiva-

lent fixed focal lengths is possible based on the published

graphs in earlier chapters and in the lens data sheets, avai-

lable separately. The reader can do this him/herself.

The comparison with the Apo-Summicron-R 90 mm f/2

ASPH is interesting and does indicate where the advantages

of fixed focal lengths may be found. A careful study of the

properties of the individual lenses does help making the

correct selection. The Apo-Summicron-R delivers at full

aperture (1:2) the same performance as the Vario-Elmarit-R

at the 90 mm focal length at f/4.5.

The Apo lens has a two stop advantage here. The greater

depth of field and the more effective reduction of internal

reflections (smaller lens diameters!) give the pictures with

the Vario lens a smoother quality. With the Apo lens the

sharpness plane is clearly isolated from the rest of the

image and the unsharpess gradient is steeper. Stopping

down the Apo-Summicron-R to 1:4 will make the differen-

ces disappear of course.

In general the fixed focal lengths will be more compact and

offer a higher speed per focal length. Stopped down there

is no longer a big difference and compared to older lens

generations, the zoomlens often has better imagery in the

outer zones of the image.

The images made with the LEICA VARIO-ELMARIT-R 28-90

MM F/2.8-4.5 ASPH have a very good colour fidelity, a very

fine pictorial depth and realism. This is a lens for slide film

and if you have not yet tried slide film, the acquisition of

this lens might be a good incentive to try these films.

The wide zoomrange from 28 to 90 mm highlights another

property of the reflex system: the normal finder screen of

the R8/9 is a bit too dark at the 90 mm position and it is

difficult to focus accurately at the 28 mm position. Here

lies a new job for the engineers at Solms! Focussing at the

wide angle range is often not very critical as depth of field

will cover slight errors. If accurate focus is required, it is

best to focus at 70 mm and zoom to 28 mm (or 90 mm and

zoom to 35 mm).

In this range, focus constancy is abolutely spot on. Current

Leica lenses score high marks in the areas of contrast and

definition and reproduction of very fine detail. These cha-

racteristics can be inferred from the published MTF graphs,

as long as you try not to read too much out of these

graphs. One very critical area where the MTF can not provi-

de information is the propensity to flare in its several

aspects.

LEICA VARIO-ELMARIT-R 28-90 MM F/2.8-4.5 ASPH

image: Oliver Richter

Chapter 7 Leica R-Lenses 10

__Flare properties

I made a special study of the flare properties of the lens, as

this is the one area where lenses have to go 'a bout de

souffle'. Veiling glare is hardly visible at all focal lengths,

implying there is no loss of contrast when the background

is much brighter than the subject itself. When the sun is

obliquely shining into the lens, and is behind the subject,

one can see some secondary reflections of small extent in

the picture, but the well-known diaphragm blade reflections

are not visible. With the sun flooding the image, there is of

course a bleaching out of the picture details, but in such a

situation one would change the position slightly to evade

this direct confrontation with the sun.

In general I would say that for veiling glare the lens is better

than the average Leica lens, and for secondary reflections it

is slightly better.

__Conclusion

The new lens is an outstanding performer at all focal

lengths. The compact size, the ergonomics and the perfor-

mance are all balanced into what economists call a Pareto

optimum. Any change in one of the parameters will degrade

the quality of the whole. This actual image quality can only

be guaranteed during production and assembly where the

very tight tolerances and adjustment methods demand

workmanship of the highest level.

The image quality of the LEICA VARIO-ELMARIT-R 28-90

MM F/2.8-4.5 ASPH is generally above what one expects

from high grade fixed focal lengths and the focal length

range secures it a premium role in the Leica R lens range.

LEICA VARIO-ELMARIT-R 28-90 MM F/2.8-4.5 ASPH

image: Oliver Richter

Leica R-Lenses User manual

Brand: Leica

Model: R-Lenses

Category: Bridge cameras

Type: User manual

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